For 97 reviews, this critic has graded:
  • 44% higher than the average critic
  • 1% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Kelly Lawler's Scores

Average review score: 62
Highest review score: 88 Killing Eve: Season 1
Lowest review score: 20 The Orville: Season 1
Score distribution:
  1. Positive: 58 out of 97
  2. Negative: 18 out of 97
97 tv reviews
    • 66 Metascore
    • 63 Kelly Lawler
    Rock feels like someone else's attempt to make a Stephen King story, even though the author is involved as a producer (as he often is on such adaptations).
    • 76 Metascore
    • 88 Kelly Lawler
    Chenoweth delivers one of her best performances as Lavinia. ... Between its bright color palette, sunny setting and jaunty tone, Trial is a perfect complement for a glass of lemonade and a midsummer heat wave.
    • 77 Metascore
    • 50 Kelly Lawler
    Although the eight-episode series eventually perks up, in the seven parts made available for review it's often a lazy, dreary summer mystery that feels exploitative of the violence it depicts. It's a disappointing adaptation of its source material, with all the gravitas of a trashy beach read.
    • 53 Metascore
    • 50 Kelly Lawler
    It's all very pretty, but it doesn't conceal a rather pokey and dull series. Yellowstone is a rote family drama that's too self-important for its own good.
    • 68 Metascore
    • 88 Kelly Lawler
    Its great strengths are its restraint and simplicity. The show unfolds slowly and delicately, with greater initial focus on its enchanting young leads than their newfound superpowers
    • 66 Metascore
    • 88 Kelly Lawler
    The smartly written dark dramedy, created by Marti Noxon (UnREAL), is a delectable expression of feminist anger, a parable that eviscerates the patriarchy.
    • 75 Metascore
    • 75 Kelly Lawler
    It's big, it's loud, it's unapologetic and it has an ample sense of fun. Just like the balls.
    • 70 Metascore
    • 37 Kelly Lawler
    Dull, dreary and dubiously written, Succession isn't much of a success. ... It's just a group of vacuous rich people shouting at each other, probably not making much of a sound.
    • 67 Metascore
    • 75 Kelly Lawler
    The season is faster-paced and makes better use of the recurring gags from its entire run. But though it's a considerable improvement on Season 4, the fifth season still can't reach the heights of the first three. ... However, the long gap since its original run gives some cast members the opportunity to shine more brightly.
    • 47 Metascore
    • 50 Kelly Lawler
    There's nothing to distinguish Fahrenheit other than the fire imagery. And it's not much of a pleasure to watch the movie burn.
    • 49 Metascore
    • 25 Kelly Lawler
    The pace drags, the dialogue is unnatural and cheesy, the plot is dull and absurd, and most of the characters are still abhorrent. Watching is a chore, but there's no benefit at the end. There are zero reasons to put yourself through it.
    • 64 Metascore
    • 75 Kelly Lawler
    Warm, idyllic and impeccably acted.
    • 80 Metascore
    • 88 Kelly Lawler
    Patrick's life may be in shambles, but the series manages to assemble its disparate pieces into something deeply beautiful. It might just be powerful enough for Cumberbatch's notoriously spirited fan base to forget all about Sherlock and Strange. Maybe.
    • 86 Metascore
    • 75 Kelly Lawler
    Expanding Handmaid's into a multi-season TV series from a single novel by Margaret Atwood was always going to be tricky, and to maintain the core of the series as it moves beyond the book's roadmap, its characters have to suffer. Still, there's only so much trauma audiences can take before it becomes too much. Handmaid's would do well with a lighter touch.
    • 76 Metascore
    • 75 Kelly Lawler
    Now that the hard work is over, the series is more assured, faster-paced and easier to watch. The characters feel more lived-in, and the dialogue, music and settings can be self-referential. Each scene conveys more meaning.
    • 83 Metascore
    • 88 Kelly Lawler
    Grounded by outstanding performances from Sandra Oh (in her first regular-series role since leaving Grey's Anatomy) and Jodie Comer (The White Princess), Eve is an enthralling trip that follows a familiar path and then suddenly veers off course, never ceasing to shock and satisfy. The series manages to be as gripping as it is kooky and darkly funny, reveling in the tennis match between the two actresses.
    • 65 Metascore
    • 50 Kelly Lawler
    Watching O.G. involves waiting for something more. Even six episodes in, the series feels as shallow as the hipster coffee joint where Tray finally gets a job.
    • 49 Metascore
    • 25 Kelly Lawler
    Alex, Inc. is painful. ... Braff is a big roadblock, but he's far from its only obstacle. The dialogue sounds nothing like normal human speech; it is far too on the nose and hammy. The way Alex builds a business and a podcast is farcical.
    • 67 Metascore
    • 75 Kelly Lawler
    Trust adds to the conversation rather than repeating it. You can count on its pulpy drama, even if the fictional Gettys couldn't count on each other.
    • 83 Metascore
    • 88 Kelly Lawler
    It's alternately funny and horrifying, and manages to make jokes about its criminal elements without being too exploitative or blasé. ... Much of the success of the show rests on Hader, though, and he is fantastic. ... The ensemble is superb as well.
    • 55 Metascore
    • 37 Kelly Lawler
    Station is more a cheap facsimile of what made Grey's tick than a successful spinoff. It tries to ignite something new for the Grey's world, but just ends up flaming out.
    • 59 Metascore
    • 50 Kelly Lawler
    Rise feels like a rehash, a collection of stories we've already seen, presented with a slightly darker palette.
    • 69 Metascore
    • 50 Kelly Lawler
    If you're looking for familiar faces and easy watching, Roseanne will probably satisfy. For those looking for something sharper, ABC has plenty of other family comedies to choose from.
    • 60 Metascore
    • 50 Kelly Lawler
    The new version is really just the old version, but a little sappier, a little more Disney-fied, a little more Americana-obsessed, and it's all, well, fine. It's not particularly good or particularly bad. It's just familiar. And familiar may be enough, depending on what you're looking for. But it's not special.
    • 49 Metascore
    • 63 Kelly Lawler
    Keeping things light and airy works for Life Sentence. As a pure form of escapism, the series is as effective as those weepy movies Stella used to watch in the hospital.
    • 47 Metascore
    • 40 Kelly Lawler
    Baldwin, who had a short-lived talk show on MSNBC in 2013, is a decent interviewer, but the talk never gets too deep or reveals new insights about his subjects. ... Baldwin tries his level best, but the show is too slight to really click.
    • 74 Metascore
    • 88 Kelly Lawler
    Many streaming series have bloated lengths and extraneous subplots, but almost every scene in Tower feels vital, even if it's occasionally guilty of being a bit too on the nose. ... In its softer-touch moments, the series excels at creating a sense of existential dread, offering answers to questions we wish we didn't have to ask, and finding something new to say about a story we all already know.
    • 60 Metascore
    • 75 Kelly Lawler
    [Good Girls] is a pulpy, soapy delight that finds a new story to tell about good girls gone bad.
    • 68 Metascore
    • 50 Kelly Lawler
    The series does make its point, that nothing is fair and the institutions designed to protect us are broken, even if it does so with an extremely heavy hand. It's hard, especially when King is onscreen, not to be reminded of ABC's superior American Crime, which more deftly handled complex social issues and told a better story in the process. If only there was a little more depth behind those Seven Seconds.
    • 46 Metascore
    • 25 Kelly Lawler
    Mostly, Here and Now is a pedantic, torturous mess that's a waste of its great cast and its creator, Alan Ball.

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